Carole King - You've Got a Friend (from Welcome To My Living Room)

34,132,487 views Feb 3, 2017

34,132,487 views • Feb 3, 2017

"You've Got a Friend" by Carole King from Welcome To My Living Room Listen to Carole King: https://CaroleKing.lnk.to/listenYD Subscribe to the official Carole King YouTube channel: https://CaroleKing.lnk.to/subscribeYD

A Day In The Life with orchestra - The Beatles (arr. Sam Haug)

I arranged the song 'A Day In The Life' from The Beatles into an orchestral piece with choir. This is the result. Hope you like it!

While My Guitar Gently Weeps (Taken from Concert For George)

Music video by Paul McCartney, Eric Clapton performing While My Guitar Gently Weeps. (C) 2018 Oops Publishing, Limited Under exclusive license to Craft Recordings, a division of Concord Music Group, Inc.

UP Concert Chorus celebrates 60 years with concert on Feb. 4

by Manila Bulletin Entertainment

A musical number from the UPCC 58th anniversary concert in 2020

The University of the Philippines’ performing group, the UP Concert Chorus (UPCC) or simply Korus, celebrates its 60th anniversary with a concert entitled “Sama-Sama Together” to be held on Saturday, Feb. 4, 5 pm at the UP Theater in Diliman, Quezon City.

Established in 1962 under the incumbency of UP President, General Carlos P. Romulo with Dean Ramon Tapales as UPCC’s first conductor, the UPCC has evolved into an internationally renowned and multi-awarded choir that has perfected versatility in singing classical, folk, pop and Broadway musical genres with their signature vibrant choreography under the stewardship of the much-beloved Dean Rey T. Paguio.

UP Concert Chorus Batch 2000s with Nanette Inventor and conductor Jai Aracama

An icon of stage performance that pioneered ChoreoCapella or choreographed a capella in the Philippines, it is the recipient of several distinctions, including the world’s best in folk choral performance at the 2012 Festival Internacional de Cantonigros in Spain, Grand Prix winner at the 6th International Krakow Choir Festival in Poland, and 2012 Aliw Awards’ Lifetime Achievement Award. 

The anniversary concert features different UPCC batches from the 1960s to the present performing songs and choreography of various musical genres such as liturgical, classical, opera, Filipino folk, Broadway, and pop.

UP Concert Chorus Batch 1980s

“From Thompson to Fettke, from Abelardo to Lucio San Pedro to John Lennon, from VST to APO Hiking Society, from Gary Valenciano to Itchyworms, from Nonong Pedero to Willy Cruz to Ryan Cayabyab… we are going sing the songs by these remarkable artists. The concert is going to be a musical extravaganza to remember 60 years by,” says Atty. Noriz Reyes, chairperson of the UPCC 60th Anniversary Concert Committee.

Three celebrated conductors will be leading the choir, they are: Prof. Joel Navarro, Prof. Ed Manguiat, and current UPCC conductor Jai Sabas-Aracama. Mr. Rico Mortel will be directing the show.

UP Concert Chorus Batch 1970s with Prof Rey Paguio (in black shirt)

Among those who have confirmed to perform include singer-comedienne Nanette Inventor; Edru Abraham of Kontra Gapi; Becky Demetillo-Abraham of Inang Laya; broadcaster Kata Inocencio; celebrity voice teacher Kitchie Molina; Bob Serrano and Popo Suanes of the Tux; Zebedee Zuñiga and Sushi Reyes of Opera; lawyers Dot Gangcayco, Noriz Castillo, Gigi Dizon Reyes and Jenny Aldecoa-Delorino; doctors Tony Comia and Melfred Hernandez; international performer Jonathan Badon; stage actors Lionel and Cynthia Guico; Filipino-American musician Nhick Pacis; singer-actress Olive Isidro; speech language pathologist Kaye Tuiseco of the Ryan Cayabyab Singers, music teacher Emmy Cayabyab; public relations strategist Ritzi Ronquillo; Vallejo City Vice-Mayor Rozzana Verder-Aliga of California, and around 200 more UPCC alumni.

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Prof. Joel Navarro, himself a UPCC alumni, promises that the event will be a treat not just for those who are familiar with the UP Concert Chorus’ brand of performing. He says, “It’s a lifetime event that you will want to attend. It’s not just our story. It’s the story of how music can build a community, transform a people and move the world.”

Conductors Ed Manguiat Jai Aracama and Joel Navarro

UPCC Alumni Association President Atty. Dot Gancayco stresses that as their way of giving back to the Alma Mater the Korus, the proceeds of the concert will go to the Dean Rey T. Paguio Scholarship Fund.

For ticket details and inquiries, contact Lowell Reyes mobile 09228050471.

I Dreamed a Dream (From "Les Misérables")

I Dreamed a Dream (From "Les Misérables") · Louise Dearman

It's Time

℗ 2014 Silva Screen Records Ltd.

Released on: 2013-12-02

Composer  Lyricist: Alain Boublil

Composer  Lyricist: Claude-Michel Schönberg

Composer  Lyricist: Herbert Kretzmer

Nostalgia Philippines ( The 70s)🎶🎶🎶🇵🇭

Reminisce and marvel at some nostalgic photos, people, music and events of the 70s in the Philippines. Let’s relive the past...

La Belle Dame Sans Regrets

Provided to YouTube by Columbia La Belle Dame Sans Regrets · Chris Botti When I Fall In Love ℗ 2004 SONY BMG MUSIC ENTERTAINMENT Released on: 2001-01-01 Producer: Bobby Colomby Vocal, Composer, Lyricist: Sting Guitar, Composer, Lyricist: Dominic Miller Guitar: Dean Parks Co- Producer: Sean Douglas Engineer, Mixing Engineer: Al Schmitt Engineer: Haydn Bendall Percussion: Paulinho Da Costa Engineer: Elliot Scheiner Drums: Vinnie Colaiuta Arranger: Gil Goldstein Assistant Engineer: Steve Genewick Piano: Billy Childs Assistant Engineer: Chris Barrett Assistant Engineer: Brian Montgomery Associated Performer: London Session Orchestra Bass: Brian Bromberg Mastering Engineer: Doug Sax Auto-generated by YouTube.

Iniibig Kita

Great Original Pilipino Music by Ryan Cayabyab The San Miguel Philharmonic Orchestra The San Miguel Master Chorale

The Hollies - He Ain't Heavy, He's My Brother

Waldteufel - Valse des patineurs

122,415 views  May 11, 2014

Orchestre Symphonique de Haguenau

Direction : Marc Haas

Vidéo : David Sroeu

www.symphonique-haguenau.com

Hold Me in YOur Arms Teddy Pendergrass and Whitney Houston!!

.Whitney Houston and Teddy Pendergrass Hold Me (Classic Old School R&B!!!!! "Hold Me" [duet with Whitney Houston] TEDDY PENDERGRASS Ringtones TEDDY PENDERGRASS Ringtones I'll hold you and touch you and make you my woman I'll give you my love with sweet surrender Tonight our hearts will beat as one And I will hold you, touch you And make you my woman tonight There's something in your eyes I see A pure and simple honesty Hold me in your arms tonight Fill my life with pleasure Let's not waste this precious time This moment's ours to treasure Hold me in your arms tonight We'll make it last forever When the morning sun appears We'll find our way together I believe you when you say that you love me Know that I won't take you for granted Tonight the magic has begun So won't you hold me, touch me Make me your woman tonight There's something in your eyes I see I won't betray your trust in me Hold me in your arms tonight Fill my life with pleasure Let's not waste this precious time This moment's ours to treasure Hold me in your arms tonight We'll make it last forever When the morning sun appears We'll find our way together I'll hold you and touch you And make you my woman tonight Hold me in your arms tonight Fill my life with pleasure There's something in your eyes I see Let's not waste this precious time This moment's ours to treasure Hold me in your arms tonight We'll make it last forever Something in your eyes I see When the morning sun appears We'll find our way together Hold me in your arms tonight Fill my life with pleasure There's something in your eyes I see Let's not waste this precious time This moment's ours to treasure Hold me in your arms tonight We'll make it last forever There's something in your eyes I see When the morning sun appears We'll find our way together

Offenbach - Orpheus in the Underworld Overture

Gimnazija Kranj Symphony Orchestra on Great Christmas Concert 2012 - Between Heaven and Earth in Cankarjev dom (Gallus Hall). The slovenian youth perfomered famous parodical overture by french composer Jacques Offenbach, Orpheus in Underworld Overture. It is special magic moment, filled with poetry, nostalgia and love with our youth orchestra on sold out concert. Our kids play beautifully with musicality and great energy. Comparable with best performances. Legendary. Personal. Unforgettable. Must watch. Under conductor maestro Nejc Bečan; Concert master: Matjaž Bogataj; florist: Ivo Uršič; scenography: Jernej Kejžar; light: Cankarjev dom; sound: Matjaž Culiberg, mastering: Iztok Zupan; operational manager: Grega Jeraša, director: Primož Zevnik

A Brief History of Clementi, the Underrated Innovator His Music and His Life)

Muzio Clementi

Italian composer and pianist

    

Alternate titles: Mutius Philippus Vincentius Franciscus Xaverius Clementi

Born: January 23, 1752 Rome Italy

Died: March 10, 1832 (aged 80) Evesham England

Muzio Clementi, in full Mutius Philippus Vincentius Franciscus Xaverius Clementi, (born Jan. 23, 1752, Rome, Papal States [Italy]—died March 10, 1832, Evesham, Worcestershire, Eng.), Italian-born British pianist and composer whose studies and sonatas developed the techniques of the early piano to such an extent that he was called “the father of the piano.”

A youthful prodigy, Clementi was appointed an organist at 9 and at 12 had composed an oratorio. In 1766 Peter Beckford, a cousin of William Beckford, the author of Vathek, prevailed upon Clementi’s father to allow him to take the boy to England, where he lived quietly in Wiltshire pursuing a rigorous course of studies. In 1773 he went to London and met with immediate and lasting success as a composer and pianist. The piano had become more popular in England than anywhere else, and Clementi, in studying its special features, made brilliant use of the new instrument and its capabilities. From 1777 to 1780 he was employed as harpsichordist at the Italian Opera in London. In 1780 he went on tour to Paris, Strasbourg, Munich, and Vienna, where he became engaged in a friendly musical duel with Wolfgang Amadeus Mozart at the instigation of the emperor, Joseph II.

In 1782 Clementi returned to London, where for the next 20 years he continued his lucrative occupations of fashionable teacher, composer, and performer. He was a shrewd businessman: in 1799—in the wake of Joseph Haydn’s London visits and after Mozart’s much-publicized remark that he was a “charlatan, like all Italians,” which together had substantially weakened the market for his music—he cofounded a firm for both music publishing and the manufacture of pianos. Among his numerous pupils were Johann Baptist Cramer, Giacomo Meyerbeer, and John Field. Clementi visited the European continent again in 1820 and 1821. In his later years he devoted himself to composition, and to this period belong several symphonies, the scores of which were either lost or incomplete.

Clementi’s chief claims to fame are his long series of piano sonatas, many of which have been revived, and his celebrated studies for piano, the Gradus ad Parnassum (1817; “Steps Toward Parnassus”). His own contributions to the development of piano technique coincided with the period of the new instrument’s first popularity and did much to establish the lines on which piano playing was to develop; important traces of his influence may be found in the piano works of Haydn, Beethoven, and even Mozart, as well as the next generation of pianist-composers.

The Father of Piano: Muzio Clementi

by Fanny Po Sim Head, Interlude

If you are a pianist, you probably have heard of Clementi and played his six piano sonatinas, Op.36. Indeed, Clementi was one of the most influential classical keyboard composers in music history. I was introduced to his piano sonatas years ago and have been drawn to his composition since then. Still, in addition to his composition, Clementi contributed his adventurous life to the musical world in many ways.

Background as an Organist and Performer

Muzio Clementi

Born in 1752, Italian composer Clementi showed his musical talent at an early age. Not only did he begin composing and writing an oratorio at the age of 13, but he was also hired as an organist of the parish church of San Lorenzo in Dámaso. However, he didn’t work for the church for a long time. Instead, in 1766, he was taken to England by Sir Peter Beckford. The following seven years, Clementi stayed at one of Beckford’s estates, Stepleton House, where he gave his first public performance. The performance was successful, and the audience was impressed with his playing.

His Encounter with Mozart

Clementi left the estate when he turned 22 years old. His reputation as a performer quickly developed as he toured around London and later all over Europe. When he was in Vienna in 1781, he was invited by Holy Roman Emperor Joseph II to contest with Mozart. The composers were asked to improvise and perform excerpts of their works. Even though the contest was declared a tie, Mozart and Clementi had very different impressions of each other. Clementi was impressed by Mozart’s performance. One of Clementi’s students, Ludwig Berger, recalled what Clementi said of Mozart:

“Until then I had never heard anyone play with such spirit and grace. I was particularly overwhelmed by an adagio and by several of his extempore variations for which the Emperor had chosen the theme, and which we were to devise alternately.”

Stepleton House

However, Mozart was not impressed by Clementi’s playing at all. In one of his letters to his father, Mozart mentioned that Clementi’s playing was a “mere mechanic” and
“Clementi is a charlatan, like all Italians. He marks a piece presto but plays only allegro.”

Although Mozart remained negative of Clementi, Clementi was influential to many composers and pianists even to this day. On the other hand, Beethoven looked highly upon Clementi and his compositions. He encouraged his nephew, Karl van Beethoven, to learn Clementi’s works. Beethoven said, “They who thoroughly study Clementi, at the same time make themselves acquainted with Mozart and other composers; but the converse is not the fact.”

The “Newer School of Technique on the Piano”

Clementi has been known as the “Father of the Piano.” Through his 110 piano sonatas, Clementi expanded and showcased the capabilities of the pianos, as well as exhibited many virtuosic passages and demanding skills required to execute his works.

Ignaz Moscheles once wrote that Clementi founded the “newer school of technique on the piano.” Moscheles was among one of the students of Clementi. Others included Johann Baptist Cramer, Therese Jansen Bartolozzi, Johann Nepomuk Hummel, Ludwig Berger (teacher of Felix Mendelssohn), and John Field.

Influences on the History of Piano-Making

This Father of the Piano influenced piano history in more than just as a composer, a performer, and a pedagogue. Clementi was also known as a clever businessman. Clementi was involved in both music publishing and piano manufacturing. In 1798, when he was 45 years old, he took over Longman and Broderip and began a publication line, “Clementi & Co., & Clementi, Cheapside.”

Clementi brought significant improvements to the design of pianos, and many remained the piano standard. In 1810, Clementi almost completely stopped performing and devoted most of his time to composing and piano making. One of his last compositions, Gradus ad Parnassum, is a set of 100 studies published in 3 volumes. The studies are short but cover both technical and interpretative skills that deserve more attention from piano lovers. 

Besides Gradus ad Parnassum and the 110 piano sonatas, Clementi’s Capriccios are equally charming. His output of Capriccios spanned over his career, and among them, the two Capriccios in op.34 display many expressive and improvisatory elements in Clementi’s music. lementi, a legendary performer, composer, educator, publisher, and piano manufacturer, lived a prolific life and is well deserved to be called the Father of Piano. Yet, he also was a conductor who founded the Philharmonic Society of London (which later became the Royal Philharmonic Society in 1912). He also wrote a few symphonies and chamber works, including Symphony No.3. It is nicknamed “the Great National,” and Clementi used God Save the King (National Anthem of the United Kingdom) in various movements.

Classical to Broadway: The Art of Robert Wright and George Forrest

by Maureen Buja 

What do Kismet, Song of Norway, Gypsy Lady, and The Great Waltz all have in common? They were all productions using the music of long-dead composers with updated lyrics.

Robert Wright (1914-2005) worked with George Forrest (1915-1999) to bring classical music to the musical stage. Both men were credited as composer-lyricist, but George Forrest worked primarily on the musical side of things. Wright was born in Daytona Beach, Florida, and studied piano. He was active while in high school, working in vaudeville, played piano at a silent movie theater, and led his own orchestra. Together with George Forrest, they wrote the school song ‘Hail to Miami High’. This first collaboration would eventually lead to 16 produced stage musicals, 18 revues, music for dozens of films, and many club acts. After leaving high school the pair did a cross-country cabaret tour and eventually ended up in Hollywood, where they worked for MGM as songwriters for seven years.

Song of Norway Poster

Their first Broadway production was Song of Norway in 1944, which took music from his piano concertos, from his violin sonatas, and many other sources. 

Other music in the production can be traced to the source: ‘Prelude & Legend’ (based on Grieg’s Piano Concerto in A minor), ‘Now’ (based on Violin Sonata No. 2, and Waltz from Lyric Pieces, Book 2), ‘Strange Music’ (based on ‘Wedding Day at Troldhaugen’ from Lyric Pieces, Book 8), ‘Midsummer’s Eve’ (based on ‘I Walked One Balmy Summer Eve’ from Five Poems, Op. 26, No. 3 and Scherzo in E from Lyric Pieces, Book 5), and ‘I Love You’ (‘Ich Liebe Dich’, from Melodies of the Heart, Op. 5, No. 3).

Wright and Forrest later in life

This 1944 operetta was a successful Broadway hit and was the first Broadway show to cross to London after the end of WWII, opening in 1945.

Next came Gypsy Lady in 1947, adapting music from two operettas by Victor Herbert, The Fortune Teller (1898) and The Serenade (1897).

‘Romany Life’ from The Fortune Teller, with lyrics by Harry B. Smith, was one of the songs that was used in the Wright-Forrest work. 

Magdalena Studio Recording 1990

In a shift from their usual method, the duo worked with a living composer, Heitor Villa-Lobos, on Magdalena: A Musical Adventure. The original book was by Frederick Hazlitt Brennan and Homer Curran, and then was given new lyrics and musical adaptations by Wright and Forrest. The New York Times gave it a scathing review, praising only Villa-Lobos’ music. It lasted for 88 performances.

In 1949 came The Great Waltz, which adapted the music of both Johann Strauss Sr and Jr. The original production opened on Broadway in 1934, to a book by Moss Hart and lyrics by Desmond Carter. That, in turn, was based on a pasticcio (an unauthorized adaptation of the music of one or more composers) by Erich Wolfgang Korngold and Julius Bittner called Walzer aus Wien, first performed in Vienna in 1930. In 1949, Wright and Forrest were asked to make their own adaptation for the Los Angeles Civic Light Opera. This never opened on Broadway but went to London in 1970.

Finally, in 1953 came Wright and Forrest’s great hit: Kismet. This used the music of Alexander Borodin to create songs that entered the pop music world, including ‘Stranger in Paradise’, ‘Baubles, Bangles and Beads’, and ‘This is my Beloved’.

Kismet Poster 1953

Borodin’s String Quartet No. 2 was used for two different songs. 

The women’s dance scene from Act II of Prince Igor, the Polovtsian Dances, was the basis for no fewer than 5 different pieces, the most famous of which was Stranger in Paradise, based on the ‘Gliding dance of the Maidens’ from the dance sequence. 

As testament to the popularity of Stranger in Paradise was that in 1955, no fewer than 5 versions made it to the UK pop charts, including versions by Tony Bennett (No. 1), The Four Aces (No. 6), Tony Martin (No. 6), Bing Crosby (No. 17), Don Cornell (No. 19), and an instrumental version by Eddie Calvert (No. 14). It also charted in France as Étranger au paradis that same year. Since then, versions have been recorded by everyone from Engelbert Humperdinck to Sun Ra. Neil Young has performed it live but has never recorded it.

Kismet won 3 Tony Awards in 1954: Best Musical, Best Actor in a Musical (Alfred Drake as Hajj) and Musical Conductor (Louis Adrian). In 1995, Wright and Forrest were awarded the ASCAP Foundation Richard Rodgers Award.

Wright and Forrest’s last adaptation-musical was the music for Anya in 1965, adapting the music of Sergei Rachmaninoff. It closed while in previews when the critics denounced it as being too old-fashioned. It was a musical adaptation of the story of Anastasia, said to be the only surviving daughter of Emperor Nicholas II of Russia. The show was reworked many times, A Song for Anastasia (1967), The Anastasia Game (1989 and 1990), The Anastasia Affaire (1992), and Anastasia, the Musical (1998), but was never the international success that Kismet had been.

Anya Original Broadway Cast Recording

These shows are a testament to how differently classical music was heard in the early 20th century. We can see from various Warner Brother cartoons that classical music by Beethoven, Brahms, Chopin, Liszt, Rossini, Schumann, Smetana, Strauss II, and Wagner were all thought to be appropriate for cartoon usage as being known to the public. Wright and Forrest took their own knowledge of the by-ways of classical music and re-presented them with words and situations that perfectly caught the public’s taste in the case of Kismet.